Concerto for Oboe and Orchestra C Major, K. 314 for Oboe & Piano Reduction 莫扎特 协奏曲双簧管 管弦乐团 双簧管(含钢琴伴奏) 亨乐版

这本 Henle Urtext 版本在版面设计和精确度方面无与伦比。专业杂志《Rohrblatt》在其出版后不久（2004 年）就写道： "编辑上的天才之举... 每一位尝试演奏这首协奏曲的双簧管演奏家都必须用这一版本来衡量自己的诠释"。这样的赞誉主要是对编辑、著名双簧管演奏家英戈-戈里茨基（Ingo Goritzki）的褒奖。他的想法是为经过编辑的器乐部分提供一个补充版本，将作品的两种来源--每种来源都有不同的问题--与经过编辑的部分放在一起。由于采用了这种经过选择的乐谱编排方式，人们可以一目了然地看到所有的变体，并做出自己合理的演奏决定。戈里茨基教授还详细讨论了特别有问题和经常引起争议的段落。莫扎特专家、钢琴家罗伯特-列文（Robert Levin）也获得了上文提到的 "编辑天才之笔 "的赞誉，他特别为亨勒版莫扎特双簧管协奏曲创作了具有大师风格的独特快板；由于采用了简单的（数字）交叉参照系统，人们可以从模板中的一个地方跳到另一个地方，从而创作出 "自己的 "快板，这非常符合快板的即兴精神。最后，我想说说这一版本备受赞誉的钢琴缩写，它来自莫扎特专家和著名的连奏专家西格弗里德-佩特伦茨（Siegfried Petrenz）。他的目标是使键盘部分音色优美，技术难度不大，明显不同于那些经常出现的以管弦乐配乐为导向的钢琴缩写。在此过程中，他还考虑到了典型的教学情况，即双簧管演奏者并不总能得到专业伴奏"

作曲家: Wolfgang Amadeus Mozart
校订者: Ingo Goritzki
乐器: Oboe; Piano Accompaniment
出版社: Henle Urtext Edition

曲目:
Mozart: Concerto for Oboe and Orchestra C major KV 314

原文简介:
This Henle Urtext edition is unrivalled in layout and precision. The professional journal “Rohrblatt” wrote shortly after its publication (in 2004): “An editorial stroke of genius... Every oboist who attempts this concerto must have his interpretation measured against this edition.” Such praise principally honors the editor, the famous oboist Ingo Goritzki. It was his idea to offer a supplement to the edited instrumental part that presents both sources of the work – each problematic in various ways – together with the edited part. Owing to this chosen arrangement of the score one can see all variants at a glance, and make one's own justified performance decisions. Particularly problematic and oft-debated passages are discussed in detail by Professor Goritzki. The above-cited praise for “an editorial stroke of genius” also applies to Mozart expert and pianist Robert Levin, who has composed idiosyncratic cadenzas in the master's style especially for Henle's edition of Mozart's oboe concerto; very much in the improvisatory spirit of a cadenza, one can jump from one place to another in the template thanks to a simple (numerical) cross-reference system, and thus craft one's “own” cadenzas. Finally, a word about the much-praised piano reduction for this edition, which comes from Mozart expert and renowned continuo specialist Siegfried Petrenz. He aims for a well-sounding and not too technically-challenging keyboard part that is clearly removed from those often-found piano reductions that orient themselves around an orchestral scoring. In so doing, he also takes account of the typical instructional situation in which a professional accompanist is not always available to the oboist.